The painter’s new monograph offers an intimate look into the making of his studio practice.

Adam Pendleton wants you to notice everything — and ponder without the need for resolve. His polyphonic paintings, made of marks unconfined by canvas or concept, almost demand of it. There is always more to see.

In his new monograph “Love, Queen,” Pendleton invites you to experience his work with an intimacy previously unseen.

“I’m curious about how paintings or drawings articulate themselves. How we come to approach them and how we come to understand them,” the artist says. “But even that word ‘understand,’ I think, is very loaded in this sense, because understand ‘what,’ right? What is there to understand? And I think that’s one of the things this book throws into question. When you do start to make these relationships, what are you ‘understanding’? What kind of knowledge or sense of being or construction or making is emerging?”

“Love, Queen” documents his exhibition at the Hirshhorn Museum and Sculpture Garden, which opened in April 2025 and runs through January 2027. The book is currently available at the museum and will be online in December. “The goal with this publication was to capture the essence of making as it relates to my paintings and drawings,” Pendleton says. ” Most well-known for his “Black Dada” aesthetic and conceptual framework, Pendleton has long been inspired by his post-WWI Dada predecessors who responded to the absurdity of modernity through illogical and unprecedented artistic interventions. ” “Black Dada as a concept, as an idea, has been influential to my work for almost 20 years now,” Pendleton says.

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